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Aeneas (Legendary character) --- Dido (Legendary character) --- Dido, Queen of Carthage (Legendary character) --- Elissa (Legendary character) --- Legends --- Purcell, Henry --- Carthage (Extinct city) --- -Carthage (Ancient city) --- Carthago (Extinct city) --- Kart Hadasht (Extinct city) --- Qarțājannah (Extinct city) --- Tunisia --- In literature --- Antiquities --- -In literature --- Aeneas (Legendary character). --- Dido (Legendary character). --- Purcell, Henry, --- Carthage (Ancient city) --- In literature.
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Operas --- Aeneas --- Purcell, Henry, --- Dido --- Carthage (Extinct city) --- Drama --- opera's --- Purcell, Henry --- Dido [Mythological character] --- Aeneas [Mythological character]
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During his lifetime, the sounds of Handel's music reached from court to theater, echoed in cathedrals, and filled crowded taverns, but the man himself - known to most as the composer of Messiah - is a bit of a mystery. Though he took meticulous care of his musical manuscripts and even provided for their preservation on his death, very little of an intimate nature survives. One document - Handel's will - offers us a narrow window into his personal life. In it, he remembers not only family and close colleagues but also neighborhood friends. In search of the private man behind the public figure, Ellen T. Harris has spent years tracking down the letters, diaries, personal accounts, legal cases, and other documents connected to these bequests. The result is a tightly woven tapestry of London in the first half of the eighteenth century, one that interlaces vibrant descriptions of Handel's music with stories of loyalty, cunning, and betrayal. With this wholly new approach, Harris has achieved something greater than biography. Layering the interconnecting stories of Handel's friends like the subjects and countersubjects of a fugue, Harris introduces us to an ambitious, shrewd, generous, brilliant, and flawed man, hiding in full view behind his public persona.
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Music --- muziek --- muziekgeschiedenis --- Handel, George Frideric --- anno 1700-1799
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Cantata --- Cantate --- Homoseksualiteit en muziek --- Homosexuality and music --- Homosexualité et musique --- Cantatas --- Homosexuality and music. --- History and criticism. --- Handel, George Frideric --- Handel, George Frideric, - 1685-1759. - Cantatas. --- Kamercantates --- Duitsland --- Handel, George Frideric (1685-1759) --- 18e eeuw --- 17e eeuw
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Music and literature --- Pastoral drama --- -Drama --- Pastoral literature --- Literature and music --- Literature --- Influence --- Handel, George Frideric --- History --- Influence. --- Handel, George Frideric, --- -Influence --- -Literature and music --- Drama
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Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In Handel as Orpheus, the first comprehensive study of the cantatas, Ellen Harris investigates their place in Handel's life as well as their extraordinary beauty. The cantatas were written between 1706 and 1723--from the time Handel left his home in Germany, through the years he spent in Florence and Rome, and into the early part of his London career. In this period he lived as a guest in aristocratic homes, and composed these chamber works for his patrons and hosts, primarily for private entertainments. In both Italy and England his patrons moved in circles in which same-sex desire was commonplace--a fact that is not without significance, Harris reveals, for the cantatas exhibit a clear homosexual subtext. Addressing questions about style and form, dating, the relation of music to text, rhythmic and tonal devices, and voicing, Handel as Orpheus is an invaluable resource for the study and enjoyment of the cantatas, which have too long been neglected. This innovative study brings greater understanding of Handel, especially his development as a composer, and new insight into the role of sexuality in artistic expression.
Cantatas --- Homosexuality and music. --- History and criticism. --- Handel, George Frideric,
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Opera's --- Groot-Brittannië --- 17e eeuw
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